DOCSLIB.ORG

Vytautas Bacevičius in New York

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Vytautas Bacevičius in New York Non-promised Land: Vytautas Bacevičius in New York NON-PROMISED LAND: VYTAUTAS BACEVIčIUS IN NEW YORK Rūta Stanevičiūtė Lithuanian Academy of Music and Theatre Abstract: In the Lithuanian music of the twentieth century, one can clearly notice a cae- sura drawn by sociopolitical events which split the national culture in two parts both in terms of time and space. In the 1940s, most of the pre-war modernist composers appeared in exile. Graduates of the Paris, Berlin, and Prague Schools and founders of the ISCM Lithuanian Section who mainly settled down in the USA tried to adapt to the different musical and sociocultural reality which strongly affected the change in their creative orien- tations. Due to the broken relations with European centres of modern music, the conserva- tive cultural environment of Lithuanian emigrants and subsequent unsuccessful attempts to participate in the influential American music scene resulted in cultural isolation that significantly influenced the post-war music development, among others, that of composer and pianist Vytautas Bacevičius (1905–1970), the most prominent figure in Lithuanian emigration. An offspring of a mixed Lithuanian-Polish family and a representative of the Paris School moved to New York in 1940 and lived there as a refugee almost till the end of his life (he was granted citizenship as late as in 1967). Like many other European emigrant composers, being brought up in the cult of elitist art, he perceived egalitarian- ism of the American art as a personal menace. Since late 1950s, Bacevičius abandoned the strategies to adapt to American cultural environment and turned towards a unique conception of cosmic music, thus rethinking his early experiences of atonal music during the era of second avant-garde inspirations. The opus magnum of his late creative period – Graphique for symphony orchestra (1964) – is an emblematic composition devised as the first opus of the never-completed series of nine symphonic compositions entitled Sahasrara Chakra. The article focuses on the discovery of the conceptual and sonic analogies of the late cosmic music developed by Bacevičius in the pursuits of the twentieth-century musica mundana, obviously associated with Olivier Messiaen and Edgard Varèse, the figures venerated by the Lithuanian composer. In addition, Bacevičius’ late cosmic music is dis- cussed as a cultural strategy of escapism symptomatic of European emigrant composers of the same generation settled in USA. TheMA: Open Access Research Journal for Theatre, Music, Arts VII/1-2 (2018) http://www.thema-journal.eu/ Permalink for this text: http://archive.thema-journal.eu/thema/2018/1-2/staneviciute 1 Rūta Stanevičiūtė Emigration of Lithuanian musicians to the USA is a phenomenon of broad histori- cal coverage: the first cultural workers-emigrants from Lithuania moved to North America as early as in the seventieth century, and another two waves of mass emi- gration were recorded in the late nineteenth – early twentieth centuries and in the 1940s. Those waves of emigration were predetermined by different reasons, eco- nomic in the first, and political in the second case. In the early twentieth century, around 7,000 to 25,000 Lithuanians arrived in the USA each year; thus, before World War I, about one quarter of the Lithuanian population had immigrated to the said country. In the 1940s the first and the second Soviet occupations of Lithu- ania and World War II led to a politically motivated flow of emigration. Although different historical sources provide different data, historians believe that over the period in question Lithuania lost around a quarter of its population (which in 1940 amounted to about 3 million). After World War II, the majority of the new wave of Lithuanian political refu- gees gathered in the USA: in accordance with the official data, around 30,000, with quite a few artists among them.1 In the afterwar period, famous prewar modernist composers, outstanding representatives of the opera, conductors, and performers settled down in the USA. A large part of them belonged to the middle age and the young generations who during the interwar years had acquired musical education in prestigious centres of music in Western Europe. Among them, three compos- ers stood out: Vytautas Bacevičius (1905–1970), Jeronimas Kačinskas (1907–2005), and Vladas Jakubėnas (1904–1976), the most prominent figures of Lithuanian mu- sic of the 1930s. Educated in Berlin, Prague, and Paris, in 1936, they set up an ISCM Lithuanian Section and integrated into the international movement of mod- ern music. The creative destinies of the three composers in the USA were very different and simultaneously symptomatic, if we consider the cases of Lithuanian musicians in a more general context of European musician emigration. As Brigid Cohen has written, “many of the practices of modernism have been the work of the exiles, émigrés, and refugees. [...] Yet despite the clear centrality of displace- ment to modernist narratives, questions of migration are notably not addressed in prevailing in theories of musical modernism, and they are only marginally in many histories of the musical avant-garde”.2 1 Cf. Danutė Petrauskaitė: Lietuvių muzikinės kultūra Jungtinėse Amerikos Valstijose 1870–1990: tautinės tapatybės kontūrai [Lithuanian Music Culture in the United States of America 1870–1990: The Con- tours of National Identity] (Vilnius: VDA, 2015), 34. 2 Brigid Cohen: “Musical Modernism beyond the Nation: The Case of Stefan Wolpe”, in: Crosscur- rents. American and European Music in Interaction, 1900–2000, eds. Felix Meyer, Carol J. Oja, Wolf- gang Rathert, Anne C. Shreffler (Woodbrige, Rochester: The Boydell Press, 2014), 197. TheMA: Open Access Research Journal for Theatre, Music, Arts VII/1-2 (2018) http://www.thema-journal.eu/ Permalink for this text: http://archive.thema-journal.eu/thema/2018/1-2/staneviciute 2 Non-promised Land: Vytautas Bacevičius in New York Figure 1. Vytautas Bacevičius in Chicago, 1940 (Lithuanian Archive of Literature and Art) From this perspective, I chose Vytautas Bacevičius, the most controversial figure among Lithuanian immigrants, for a more detailed analysis. His musical career in emigration was particularly strongly affected by the political tensions of the Cold War, even though the composer was not a political refugee. In 1938, TheMA: Open Access Research Journal for Theatre, Music, Arts VII/1-2 (2018) http://www.thema-journal.eu/ Permalink for this text: http://archive.thema-journal.eu/thema/2018/1-2/staneviciute 3 Rūta Stanevičiūtė he went on a tour to South America. Caught up by political changes and World War II, he moved to New York and lived there until his death in 1970. Vytautas Bacevičius is an especially convenient figure for the discussion and verification of a typical range of questions applied to emigration, based on a popular model of assimilation and resistance. I shall discuss the appropriateness and the limita- tions of the model from three perspectives: political, cultural, and musical. Those perspectives can be formulated as reconfiguration of diverse identities to analyse the artist’s choices in a new political and sociocultural reality based on the in- terplay of political, cultural, and artistic positioning (political engagement vs. political indifference; cosmopolitanism vs. nationalism; artistic strategies of in- novation vs. conformism). However, particularly during the Cold War period, the cultural and musical stance of composers was greatly affected by political pro- cesses. Therefore, the political, cultural, and artistic identities of musicians who found themselves on the different sides of the ideological confrontation were not some detached fields of creative agency, but rather hybrid, constantly recreated identification complexes. By several convincing examples, Daniel Fosler Lussier illustrated the interaction of political fears and artistic choices, typical of the musical expression of the young generation of composers (and especially those related to Darmstadt mainstream) after World War II.3 Not only the choice of compositional techniques, but also the relation to the pre-war musical tradition acquired a political connotation. In that context, Vytautas Bacevičius, just like other inter-war modernists, had to critically revise his artistic and stylistic stance. Simultaneously, an opposite trend cannot be ignored: the composer’s cultural and artistic attitude undoubtedly affected his position with respect to the confronta- tion of political powers. Therefore, I shall discuss the interaction of the politi- cal, cultural, and artistic identities of the Lithuanian composer as the aspects of changing hybrid identifications. VYTAUTAS BACEVIčIUS AND LITHUANIAN IMMIGRANTS IN THE USA: POLITICAL DIVIDES Like other ethnic groups that emigrated from Eastern Europe to the USA, Lithu- anian immigrants were severely fragmented by political affiliation. The most nu- merous segment of the new wave of immigrants were refugees who escaped from the Soviet occupation, who demanded non-recognition of Lithuania’s annexation, and who took a tough stance against the USSR. For a long time, they avoided any 3 Daniel Fosler-Lussier: Music Divided. Bartók’s Legacy in Cold War Culture (Berkeley, Los Angeles, London: University of California Press, 2007), 38–46. TheMA: Open Access Research Journal for Theatre, Music, Arts VII/1-2 (2018) http://www.thema-journal.eu/ Permalink for this text: http://archive.thema-journal.eu/thema/2018/1-2/staneviciute 4 Non-promised Land: Vytautas Bacevičius in New York contact with Soviet Lithuania.4 The said right-wing community that predomina- ted in exile was opposed by liberal intellectuals who started visiting Soviet Lithu- ania in the years of political liberalisation in the USSR. The left-wing group that formed from the supporters of socialist ideas in the first waves of immigrants was particularly scanty; as early as before World War II, they became “advocates” of the political line of the USSR. Unlike the majority of the right-wing musicians, Bacevičius was politically neutral and could even be called a political opportunist. He saw different political powers as a tool to develop his artistic career.
Load more

Recommended publications
  • Lietuvos Muziejų Rinkiniai 2019 / 18
    2019 Nr. 18 LIETUVOS MUZIEJŲ RINKINIAI XXII mokslinė konferencija PASAULIO LIETUVIŲ PALIKIMAS LIETUVOS MUZIEJUOSE MAIRONIO LIETUVIŲ LITERATŪROS MUZIEJUS LIETUVOS MUZIEJŲ ASOCIACIJA RINKINIŲ MOKSLINIO TYRIMO SEKCIJA ASSOCIATION OF LITHUANIAN MUSEUMS SECTION OF SCIENTIFIC RESEARCH OF COLLECTIONS LIETUVOS MUZIEJŲ RINKINIAI XXII mokslinė konferencija PASAULIO LIETUVIŲ PALIKIMAS LIETUVOS MUZIEJUOSE * * * COLLECTIONS OF LITHUANIAN MUSEUMS The 22nd Scientific Conference HERITAGE OF WORLD LITHUANIAN IN LITHUANIAN MUSEUMS MAIRONIO LIETUVIŲ LITERATŪROS MUZIEJUS 2019 M. BALANDŽIO 25 D. KAUNAS MAIRONIS LITHUANIAN LITERATURE MUSEUM APRIL 25, 2019. KAUNAS ISSN 1822-0657 Konferencijos organizacinis komitetas, leidinio redakcinė kolegija Dr. Jolanta Skurdauskienė, Žemaičių dailės muziejus Regina Urbonienė, Lietuvos dailės muziejus Dr. Sigita Bagužaitė-Talačkienė, Lietuvos dailės muziejaus Palangos gintaro muziejus Dr. Gabrielė Jasiūnienė, Šiaulių „Aušros“ muziejus Dr. Kęstutis Bartkevičius, Kauno IX forto muziejus Sudarytoja Dr. Sigita Bagužaitė-Talačkienė Recenzentas Prof. dr. Rimvydas Laužikas Konferencijos rengėjai ir partneriai MAIRONIO LIETUVIŲ LITERATŪROS MUZIEJUS Konferenciją ir leidinį finansuoja Viršeliuose Pirmajame – Maironio lietuvių literatūros muziejus Fotografas Zenonas Baltrušis Ketvirtajame – „Lietuvių Romos katalikų susivienymo Amerikoje konstitucija“. 1927 Trakų istorijos muziejus © Lietuvos muziejų asociacija, 2019 TURINyS / CONTENTS PRATARMĖ .....................................................................................................................................................5
    [Show full text]
  • Form in the Music of John Adams
    Graduate Theses, Dissertations, and Problem Reports 2018 Form in the Music of John Adams Michael Ridderbusch Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Ridderbusch, Michael, "Form in the Music of John Adams" (2018). Graduate Theses, Dissertations, and Problem Reports. 6503. https://researchrepository.wvu.edu/etd/6503 This Dissertation is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Dissertation has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. Form in the Music of John Adams Michael Ridderbusch DMA Research Paper submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Music Theory and Composition Andrew Kohn, Ph.D., Chair Travis D. Stimeling, Ph.D. Melissa Bingmann, Ph.D. Cynthia Anderson, MM Matthew Heap, Ph.D. School of Music Morgantown, West Virginia 2017 Keywords: John Adams, Minimalism, Phrygian Gates, Century Rolls, Son of Chamber Symphony, Formalism, Disunity, Moment Form, Block Form Copyright ©2017 by Michael Ridderbusch ABSTRACT Form in the Music of John Adams Michael Ridderbusch The American composer John Adams, born in 1947, has composed a large body of work that has attracted the attention of many performers and legions of listeners.
    [Show full text]
  • Berliner Philharmoniker
    Berliner Philharmoniker Sir Simon Rattle Artistic Director November 12–13, 2016 Hill Auditorium Ann Arbor CONTENT Concert I Saturday, November 12, 8:00 pm 3 Concert II Sunday, November 13, 4:00 pm 15 Artists 31 Berliner Philharmoniker Concert I Sir Simon Rattle Artistic Director Saturday Evening, November 12, 2016 at 8:00 Hill Auditorium Ann Arbor 14th Performance of the 138th Annual Season 138th Annual Choral Union Series This evening’s presenting sponsor is the Eugene and Emily Grant Family Foundation. This evening’s supporting sponsor is the Michigan Economic Development Corporation. This evening’s performance is funded in part by The Andrew W. Mellon Foundation and by the Michigan Council for Arts and Cultural Affairs. Media partnership provided by WGTE 91.3 FM and WRCJ 90.9 FM. The Steinway piano used in this evening’s performance is made possible by William and Mary Palmer. Special thanks to Tom Thompson of Tom Thompson Flowers, Ann Arbor, for his generous contribution of lobby floral art for this evening’s performance. Special thanks to Bill Lutes for speaking at this evening’s Prelude Dinner. Special thanks to Journeys International, sponsor of this evening’s Prelude Dinner. Special thanks to Aaron Dworkin, Melody Racine, Emily Avers, Paul Feeny, Jeffrey Lyman, Danielle Belen, Kenneth Kiesler, Nancy Ambrose King, Richard Aaron, and the U-M School of Music, Theatre & Dance for their support and participation in events surrounding this weekend’s performances. Deutsche Bank is proud to support the Berliner Philharmoniker. Please visit the Digital Concert Hall of the Berliner Philharmoniker at www.digitalconcerthall.com.
    [Show full text]
  • LITUANUS Cumulative Index 1954-2004 (PDF)
    LITUANUS Cumulative Index 1954-2004 Art and Artists [Aleksa, Petras]. See Jautokas. 23:3 (1977) 59-65. [Algminas, Arvydas]. See Matranga. 31:2 (1985) 27-32. Anderson, Donald J. “Lithuanian Bookplates Ex Libris.” 26:4 (1980) 42-49. ——. “The Art of Algimantas Kezys.” 27:1 (1981) 49-62. ——. “Lithuanian Art: Exhibition 90 ‘My Religious Beliefs’.” 36:4 (1990) 16-26. ——. “Lithuanian Artists in North America.” 40:2 (1994) 43-57. Andriußyt∂, Rasa. “Rimvydas Jankauskas (Kampas).” 45:3 (1999) 48-56. Artists in Lithuania. “The Younger Generation of Graphic Artists in Lithuania: Eleven Reproductions.” 19:2 (1973) 55-66. [Augius, Paulius]. See Jurkus. 5:4 (1959) 118-120. See Kuraus- kas. 14:1 (1968) 40-64. Außrien∂, Nora. “Außrin∂ Marcinkeviçi∆t∂-Kerr.” 50:3 (2004) 33-34. Bagdonas, Juozas. “Profile of an Artist.” 29:4 (1983) 50-62. Bakßys Richardson, Milda. ”Juozas Jakßtas: A Lithuanian Carv- er Confronts the Venerable Oak.” 47:2 (2001) 4, 19-53. Baltrußaitis, Jurgis. “Arts and Crafts in the Lithuanian Home- stead.” 7:1 (1961) 18-21. ——. “Distinguishing Inner Marks of Roerich’s Painting.” Translated by W. Edward Brown. 20:1 (1974) 38-48. [Balukas, Vanda 1923–2004]. “The Canvas is the Message.” 28:3 (1982) 33-36. [Banys, Nijol∂]. See Kezys. 43:4 (1997) 55-61. [Barysait∂, DΩoja]. See Kuç∂nas-Foti. 44:4 (1998) 11-22. 13 ART AND ARTISTS [Bookplates and small art works]. Augusts, Gvido. 46:3 (2000) 20. Daukßait∂-Katinien∂, Irena. 26:4 (1980) 47. Eidrigeviçius, Stasys 26:4 (1980) 48. Indraßius, Algirdas. 44:1 (1998) 44. Ivanauskait∂, Jurga. 48:4 (2002) 39.
    [Show full text]
  • Publikationsliste Wolfgang Sandberger (Stand März 2021)
    Publikationsliste Prof. Dr. Wolfgang Sandberger Stand: 01.08.2019 Prof. Dr. Wolfgang Sandberger Schriftenverzeichnis (Auswahl) Selbständige Schriften 1. Das Bach-Bild Philipp Spittas. Ein Beitrag zur Bach-Rezeption im 19. Jahrhundert [Beihefte zum Archiv für Musikwissenschaft hg. v. Hans Heinrich Eggebrecht in Verbindung mit Reinhold Brinkmann, Ludwig Finscher, Kurt von Fischer, Wolfgang Osthoff u. Albrecht Riethmüller, Bd. XXXIX], Stuttgart 1997. Rezensionen dazu (Auswahl) in: - Musik und Gottesdienst, Zeitschrift für evangelische Kirchenmusik Basel/Bern 5 (1997), S. 215 (Beat A. Föllmi). - Musiktheorie 13/1 (1998), S. 88–90 (Andreas Eichhorn). - Die Musikforschung 51/3 (1998), S. 366–67 (Herbert Lölkes). - Notes June (1999) (George B. Stauffer). - Music & Letters 80/1 (1999), S. 133–34 (Peter Ward Jones). 2. Bach 2000 – 24 Inventionen über Johann Sebastian Bach, Metzler-Verlag Stuttgart 1999. - Bach no Shogai to sono Jitsuzo. Bach ni tsuite no 24 sho no Invention (Japanisch). - Bach 2000. 24 Invenciones sobre Johann Sebastian Bach (Spanisch). - Bach 2000: 24 Inventions on Johann Sebastian Bach (Englisch). - Bach 2000. 24 Inventions sur Johann Sebastian Bach (Französisch). - Erschien auch als 24-teilige Hörfunk-Reihe beim NDR, ORB, WDR, SWR. 3. Imagination und Kanon. Der ‚Komponistenhimmel‘ in der Zürcher Tonhalle von 1895. Zweihundertstes Neujahrsblatt der Allgemeinen Musikgesellschaft Zürich auf das Jahr 2016, Winterthur/Schweiz 2016. DFG-Projekt Brahms-Briefwechsel-Verzeichnis (BBV): chronologisch-systematisches Verzeichnis sämtlicher Briefe von und an Johannes Brahms, gefördert von der Deutschen Forschungsgemeinschaft, www.brahms-institut.de, 2010. [gemeinsam mit Christiane Wiesenfeldt, Fabian Bergener, Peter Schmitz, Andreas Hund] © 2021 Brahms-Institut an der Musikhochschule Lübeck 1 Publikationsliste Prof. Dr. Wolfgang Sandberger Stand: 01.08.2019 Herausgeberschaften 1.
    [Show full text]
  • Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(S): Amy C
    American Musicological Society Negotiating Cultural Allies: American Music in Darmstadt, 1946-1956 Author(s): Amy C. Beal Source: Journal of the American Musicological Society, Vol. 53, No. 1 (Spring, 2000), pp. 105- 139 Published by: University of California Press on behalf of the American Musicological Society Stable URL: http://www.jstor.org/stable/831871 Accessed: 22/11/2010 15:41 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at http://www.jstor.org/action/showPublisher?publisherCode=ucal. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and American Musicological Society are collaborating with JSTOR to digitize, preserve and extend access to Journal of the American Musicological Society.
    [Show full text]
  • Ich Sitze Und Schaue Aus: Genesis, Evolution, and Interpretation Of
    ICH SITZE UND SCHAUE AUS: GENESIS, EVOLUTION, AND INTERPRETATION OF K.A. HARTMANN’S FIRST SYMPHONY by DAVID ALLEN CHAPMAN, JR. (Under the Direction of David Haas) ABSTRACT This thesis seeks to identify the personal forces that motivated the composition of the Karl Amadeus Hartmann’s Symphony no. 1, Versuch eines Requiems, and how these may inform an interpretation of the Symphony today. These issues include the influences that led to Hartmann’s unique style in the 1930s, the politics of the work’s would-be reception in the early years of the Nazi Regime, and the post-war changes in the composer’s own interpretation of the work. The final chapter proposes an interpretive reading of the work as a dramatic monologue by the Allmutter, personified by the alto singer, and who mourns the loss of “her sons, her daughters” in a great and oppressive “misery” – an obvious comment on the cruelty and destruction of the Third Reich. The untexted theme and variations movement is seen as a meaningful gesture of identification with those oppressed by the Regime. INDEX WORDS: Karl Amadeus Hartmann, Music History, Walt Whitman, Modernism, Symphony, Hermeneutics, Germany, Nazism, Music and Politics ICH SITZE UND SCHAUE AUS: GENESIS, EVOLUTION, AND INTERPRETATION OF K.A. HARTMANN’S FIRST SYMPHONY by DAVID ALLEN CHAPMAN, JR. B.M., Kennesaw State University, 2001 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2006 © 2006 David Allen Chapman, Jr. All Right Reserved ICH SITZE UND SCHAUE AUS: GENESIS, EVOLUTION, AND INTERPRETATION OF K.A.
    [Show full text]
  • Katalogas – Aukcionui Pateikiamų Meno Kūrinių Aprašymas, Registracija Aukciono Vietoje Baigiasi Likus 10 Min
    XXXIV Vilniaus aukcionas 2014 m. spalio 3 d. 18 val. Tolerancijos centras (Naugarduko g. 10, Vilnius) Ekspozicija: Spalio 1–2 d. 10–18 val. Spalio 3 d. 10–14 val. Tolerancijos centras (Naugarduko g. 10, Vilnius) 4 Portretas 10 In focus: Vytautas Kazimieras Jonynas 16 In focus: Kazimieras Stabrauskas 18 Religinė dailė 20 Litvakų dailė 24 Abstrakcija 30 Lietuvos dailė 44 Lietuvos grafika 50 Varia Lituanica Turinys Sveiki, mielieji, šio aukciono rinkinys truputį rizikingas, nes net pora rubrikų skiriama žanrams, kurie nėra patys populiariausi, o reikalauja tam tikro pasirengimo juos priimti. Turiu omenyje Portreto ir Abstrakcijos temas. Beje, prie tokių galima priskirti ir Religinės dailės rubriką. Vieni teigia „nenorį įsileisti svetimų žmonių portretų į namus“. Kiti teigia nemėgstą abstrakcijų. Na, o religiniu menu apskritai vienetai domisi. Vis dėlto, pasitikime mūsų klientų, kolekcininkų menine klausa ir branda, tad ir ryžtamės dirbti su tokiomis nepopuliariomis temomis. Galvoju, kad Lietuvoje yra pakankamai žmonių, kurie jau moka skaityti Zapkaus abstrakcijas, įvertinti stacijų autentiškumą ar tiesiog grožėtis Ciplijausko sukurtu dailininko Viktoro Petravičiaus portetu. Šalia to, turime kitų nemažiau įdomių dalykų. Du autorius pristatome išsamiau, būtent Vytautą Kazimierą Jonyną ir Kazimierą Stabrauską. Be Stabrausko nebūtų Čiurlionio, be Čiurlionio nebūtų Šimonio. Be Jonyno nebūtų Freiburgo Dailės ir amatų mokyklos, kuri buvo visos lietuvių išeivijos dailės lopšys, epicentras. Taip pat atskira rubrika skiriama Litvakų dailei – temai,
    [Show full text]
  • Between Stockhausen/Zimmermann and Eisler/Dessau: the Italian Composer Luca Lombardi in the Two Germanies
    Between Stockhausen/Zimmermann and Eisler/Dessau: The Italian Composer Luca Lombardi in the Two Germanies [with a list of selected works and writings] Cold War Divisions The Iron Curtain was not as ironclad as captured by Churchill’s colorful and certainly appropriate verdict, and the Berlin Wall—erected more than fifty years ago as the most visible and ominous piece of architecture of the Cold War—was not as impenetrable, as minefields, watch towers, self-shooting mechanisms, and the orders to kill trespassers implied. But the traffic was largely one-sided—from West to East. Visits to the “other” side largely depended on what kind of passport one happened to have. Living in Berlin (West) during the 1960s, I frequently crossed the checkpoint at the S- Bahnhof Friedrichstraße, exchanged the obligatory amount of D-Mark-West for D-Mark-Ost at the obligatory rate of 1:1, paid an additional administrative fee, waited in line (sometimes for an hour or more), until I was admitted to stand before a more or less unfriendly border guard to answer questions about the nature of my visit and, most importantly, whether I carried any printed matter—“brinted madder” in Saxonian dialect. Newspapers and books deemed unworthy of entry were submitted to a shredder. When I finally had passed all the hurdles to enter the capital of the DDR, I was indeed in a different country. It smelled differently: the disinfectant used there and brown-coal--burning stoves imbued the DDR with a distinct odor. The newspapers had entirely different headlines than those in the Western half of the city.
    [Show full text]
  • Newsletter März – August 2011 March – August 2011
    Edition Edition 23 Newsletter März – August 2011 March – August 2011 Geschätzte Freunde des Arnold Schönberg Center, Dear Friends of the Arnold Schönberg Center! Editorial sehr geehrte Damen und Herren! Most esteemed Ladies and Gentlemen! Zwei Jahresthemen hat sich unsere Stiftung für 2011 vor- Our foundation has undertaken two theme-topics for 2011; genommen: Anlässlich der Wiederaufnahme von Strauss’ coincident with the revival of Richard Strauss’ Elektra at the Elektra an der Wiener Staatsoper befassen wir uns im Vienna State Opera, we will be looking in March at the artistic März unter dem Titel Im Explosionsstadium seelischer Hoch- exchange between Strauss and Schönberg in an exhibit spannung mit dem künstlerischen Austausch zwischen entitled At the explosive stage of emotional high-tension, espe- Richard Strauss und Arnold Schönberg, insbesondere betref- cially regarding the almost contemporaneous composition fend die fast zeitgleich entstandenen Opern Elektra und of Elektra and Schönberg’s monodrama Erwartung. Perform- Erwartung. In Aufführungen der beiden Werke, einer wissen- ances of both operas, a scholarly conference and further schaftlichen Tagung, einer Sonderausstellung und weiteren concerts are included in the event’s investigation of Strauss’ Konzerten soll das Thema die Bedeutung Richard Strauss’ influence on Schönberg and their chequered relationship. für Arnold Schönberg und deren wechselvolle Beziehung Schönberg in Italy is the theme for autumn 2011. Our würdigen. President Nuria Schoenberg Nono will chair a comprehensive
    [Show full text]
  • TOC 0328 CD Booklet.Indd
    VYTAUTAS BACEVIČIUS, LITHUANIAN RADICAL by Šarūnas Nakas During his lifetime the name of Vytautas Bacevičius (1905–70) was almost unknown and few of his major works were published or performed, but he is now considered to have been the foremost fgure in Lithuanian music of the mid-twentieth century. He built his reputation as a modern composer in the decades preceding the Second World War, also pursuing an international career as a virtuoso pianist by appearing as recitalist and soloist with the leading orchestras in major venues in Europe, South America and later in the United States. His emergence into the musical life of the time was as a visionary, trendsetter and promoter of modern urban ideology, ardently defending his views against public criticism. Bacevičius was born in Łódź, in central Poland, into a family of joint Polish- Lithuanian origin. Vytautas was the only sibling to identify himself as Lithuanian, even though the father taught his two sons and two daughters Lithuanian and ofen took them to spend the summers in his homeland.1 Te best-known member of the family was Vytautas’ younger sister Grażyna Bacewicz (1909–69), who remained in Poland to achieve prominence as one of the most gifed Polish violinists and female composers. Afer graduating from the private conservatoire in Łódź, in 1926, Bacevičius moved to Kaunas, the inter-War capital of Lithuania, where he studied philosophy and aesthetics at the Vytautas Magnus University. In 1927 a state scholarship enabled him to pursue his education in Paris, where he studied piano with Santiago Riéra, composition with Nikolai Tcherepnin at the Russian Conservatoire and philosophy at the Sorbonne.
    [Show full text]
  • Lietuvių Dailininkai JAV: Lietuviškieji Ir Amerikietiškieji Išeivių Dailės Kontekstai
    OIKOS: lietuvių migracijos ir diasporos studijos 2020, nr. 2 (30) ISSN 1822-5152 (spausdintas), ISSN 2351-6461 (internetinis) https://doi.org/10.7220/2351-6561.30.6 tRasa ŽUKIENĖ Vytauto Didžiojo universitetas Lietuvių dailininkai JAV: lietuviškieji ir amerikietiškieji išeivių dailės kontekstai Santrauka. Straipsnyje aptariami pokario išeivių kartos menininkų požiūriai į amerikietiškąjį meno kontekstą ir savosios tautinės dailės puoselėjimą XX a. antrojoje pusėje. Remiantis archyvų medžiaga ir spaudos tekstais, siekiama atskleisti, kaip lietuviai išeiviai vertino dailės kūrinius ir procesus jiems nau- joje kultūrinėje aplinkoje. Lietuvių menininkai buvo susiformavę europietiškojo meno aplinkoje. Po Antrojo pasaulinio karo apsigyvenę Vakaruose, jie ne visada pajėgdavo suprasti Amerikos avangardinio meno procesus. Atvykėlių menininkų santykis su jiems neįprasta kultūrine aplinka neretai būdavo komplikuotas. Jį aštrino kontrastas tarp tautinės bendruomenės užsidegimo turėti tautinį meną ir Ame- rikos muziejų, galerijų veiklos, nukreiptos į tarptautiškumą ir rinką. Raktažodžiai: lietuvių išeivijos dailė, abstraktusis ekspresionizmas, modernusis menas. Šiandien lietuvių išeivijos dailės tyrimai jau tapo ne tik gilesni, bet ir platesni: „egzilio“ sąvoka išsiplėtė, rašoma ne vien apie lietuvių, bet ir apie lenkų, litvakų, žydų menininkus, susijusius su Lietuva. Muziejuose ir parodose jau visiems yra vietos. Vis dėlto, žiūrint į kūrėjus ne vien pro nacionalinio paveldo prizmę, trūksta svarbaus dėmens – atsakymo į klausimą, koks yra jų santykis su savuoju laiku ir kokia jų kūrinių vieta ano laikotarpio mene. Kitų tautų reikalų neliesime. Apie lietuvius dailininkus išeivijoje savo ruožtu a priori galėtume pasakyti, kad daugumos jų santykis su savojo laiko meno procesais buvo komplikuotas, o tautinės bendruomenės primygtiniai siūlymai kurti tautinį meną, meno ir politikos sampynos, rašiusiųjų šališkumas vienus dailininkus tik pristabdė ieškant nau- jų kelių, o kitus pastūmėjo pasitraukti iš bendruomenės.
    [Show full text]